‘THINKING THE EDIT!’ IS BACK IN BERLIN.
After several successful editions in Madrid and Berlin (FilmArche Berlin, Master-LAV, DOCMA), you have a new opportunity to attend this workshop, where you’ll discover, or re-discover, the art and creativity of film editing.
There are many editing workshops where you can learn about editing software (Avid Media Composer, DaVinci Resolve, Premiere Pro, FCP X). I do a lot of those myself!
‘Thinking the Edit’ is far from that: we put aside software, codecs, hardware, etc., and focus on theory, language, and creativity.
Next edition of ‘Thinking the Edit!’ to be announced soon! If you are interested, write me at email@example.com, so I can notify you once registrations are open.
Interested? Read more below!
When does editing really start?
Why cut a clip in a particular exact moment, and not somewhere else?
How do story and emotion articulate through the interaction of shot sizes, angles, and camera movements?
What is film editing, beyond the cut?
‘Thinking the Edit’ is a Workshop about Film Editing Theory and Analysis.
We look at the world of contemporary film editing, and explore ideas and creativity, in all genres, from fiction, to documentaries, to experimental.
The workshop is designed for professionals and students of all kinds. You don’t need to be an editor to attend!
The goal is students get familiar with film editing theories and concepts, so they can apply them to their own projects, and in every stage of their creative process. Also, to provide them tools so they can analyse the editing in their own productions.
Editors, directors, writers, cameramen, directors of photography, producers, actors and artists have attended ‘Thinking the Edit!’ in previous editions.
Classes are strongly based on debate and discussion, as we combine a theoretical approach with the analysis of multiple sequences from directors like: Martin Scorsese, Quentin Tarantino, Lars Von Trier, Steven Spielberg, James L. Brooks, Pawel Pawlikowski, Joshua Oppenheimer, Heddy Honigmann, Sofia Coppola, Alfonso Cuarón, Darren Aronofsky, and many others… There’ll be some surprises!
Students will also bring their own sequences to analyse and discuss in the class, from movies/series they choose, or from their own projects, finished or un-finished.
No previous experience or knowledge are required.
The workshop is oriented to professionals and students of different areas (directors, writers, camera operators, DOP, producers, actors, photographers…).
- 09:30-14:30 (20 hours).
- Price: 195 Euros.
- Seats: maximum of 8 students.
- Location: Harzer Straße 39, Berlin.
- Contact: firstname.lastname@example.org
- Phone: +34 683 31 45 45
If you wish to cancel after registering, you get back 80% of the workshop fee, but you have to notify me 10 days previous to the start. Thank you!
Next edition of ‘Thinking the Edit!’ to be announced soon!
I’m an independent filmmaker, film professor, and editing and postproduction expert.
Since 2009, I teach courses, workshops and seminars all over Europe, in filmshcools, festivals, production companies, and other institutions: DOCMA, FilmArche Berlin, ESDIP-Berlin, MIZ-Babelsberg, Master-LAV, and many others…
My teaching method is very practical, precise, and structured, and I also make sure things are exciting and fun!
I have postproduced and graded lots of film projects: La Piedra (Víctor Moreno), Freedom to Kill the Other’s Children (David Varela), Armenoscope (Silvina der Meguerditchian)…
My movies as director have been shown in more than 40 international film festivals and venues: Cineteca Matadero, MUSAC, Alcine, Pragda New York…
‘THINKING THE EDIT!’ FULL WORKSHOP PROGRAM
FILM EDITING, TODAY
- Presentations and workshop study method.
- So, what is editing, really? Let’s find a definition!
- Montage. Editing, as a concept in other art forms.
- Editing in our daily life situations.
- The creative process: selecting, arranging, creating meaning.
INTRODUCTION TO FILM EDITING THEORIES
- Historical perspective (just a little): Lumière, Méliès, Porter, Griffith, Eisenstein.
- The technical and creative evolution.
- Editing as a technical process.
- Editing and raccord (continuity).
- Editing as psychological and physiological representation.
- The Editing Effect.
- Decoupage, direction, editing.
- The interaction of forces.
- Expectation Vs. Reality.
- Spatial connections.
- Temporal connections.
- Logical connections.
- Poetic connections.
INTRODUCTION TO EDITING ANALYSIS
- The elements of film editing analysis.
- How to analyse the edit.
THE FUNDAMENTALS OF FILM LANGUAGE
- Fundamentals of film language and narrative.
- Shot types. Size, angle, movement.
- From the form to the expression: how shot types produce meaning.
- Angle and emotion. The eye of the character. Observer position.
- The principles of classic editing.
- Why the principles of classic editing don’t matter any more.
CONTINUITY AND FRAGMENTATION
- Types of continuity
- Continuity as an illusion.
- The axis of action in the cinema of movement.
- Establishing a new axis in complex action.
- Fragmentation. Re-building from the pieces.
- Style: continuity Vs. discontinuity.
- The elements of a cut.
- Walter Murch’s rule of six.
- The right frame: rushing and dragging.
- Emotional impact, intellectual impact.
- Visible cut, invisible cut.
- Comparing different edits of the same sequence.
- Action based.
- Position based.
- Formal editing..
- Combined editing.
- Expressionist editing.
- Analytical editing.
- Editing and time: lineal, non-lineal, parallel, alternate, circular.
- Narrative Vs. Abstract.
- Use of single shots in contemporary film making.
- Editing as the creation of an experience.
- Trapped in the frame.
- The elements of cinematic pacing.
- Patterns and predictability.
- Compression, expansion.
- Anticipation, delay.
FILM EDITING AND NARRATIVE STRUCTURE
- Editing as a re-write.
- Scenes, sequences, acts.
- Narrative structures.
- Conflict, progression, duration.
- Editing, memory, and perception.
- No-conflict narrative structures.
- The interaction of narrative impulse and the Editing Effect.
- Film Editing as a collaborative process.
- The relationship with the director.
- Total authorship: writing, shooting, directing and editing our own projects.
- The nature of experimentation.
- Thinking the Edit: connecting all phases of the creative process.
EXAMPLE FROM STUDENTS
- Viewing and discussion.
- Final Q&A.